C. M. KÖSEMEN City Of Love, City Of Death
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1 C. M. KÖSEMEN City Of Love, City Of Death
2 Senem Çağla Bilgin CITY OF LOVE, CITY OF DEATH Sizi İzliyoruz The Watchers, ,5 x 36,5 cm : -!. ". # ö# emen : sarsan - da :!.".#. : - :!.".#. :
3 :!.".#. : :!.".#. : - :!.".#. : Çiçekler Flowers, x 37 cm :!.".#. :
4
5 After I Am Dead, x 74 cm
6 Tercüman Speaker To The Dead, ,5 x 36,5 cm CITY OF LOVE, CITY OF DEATH : How did the idea occur to have an exhibit at the Siyah Beyaz gallery? Were you a follower of Siyah Beyaz and its events before your exhibit? As as an artist living in Istanbul, how does it feel to have a solo exhibit in Ankara?!.".# ö# emen : I was born in Ankara, and I kept coming back to the city for a while afterwards. My family and friends have been close members of the social circle around Siyah Beyaz, so I was well aware of its activities and prestige. I have become more of a professional painter over the past three years, and opened my first solo exhibit at the Empire Project gallery in Istanbul. I also got to exhibit my work regularly at the Contemporary Istanbul fair every year. During these exhibits, I talked with Sera Sade about having a show in Ankara. Ankara has always had a special place in my heart. My family and I moved to Istanbul when I was five years old, but nevertheless, all the formative events in my life; friendships, love, death and separation, took place in Ankara. I had my most carefree days as a child here, as well as the saddest - during the 1999 Earthquake and the following years, when my family suffered many losses and hardships. More recently, I remember the city for personal reasons; with deep feelings of love, fear and regret. These memories have wormed their way into my subconscious, and from there, to my art. Therefore it is very important for me to have this show in this city. In a way, I am bringing its fruits back to the garden. When I was little, my family cent green glass panels to soften the sunset glare in the summer months. As a kid, I played a funny game with these windows. I remember staring at the sun through them, and daydreaming about monsters, creatures and other outlandish forms in the reflections I saw in the sky, dancing in the green/orange afterglow of the Anatolian sunset. With this exhibit, I want to play the monster game again, this time using my symbolic language of hybrid forms and mystical symbolism to hint at the feelings of love, loss, distance, fear and regret that not only me, but many other people have come to associate with this city. To this day I have fantasies of moving to Ankara, and living here. I cannot decide if this is a genuine feeling, or a day-dream of urban escapism. : You come from a family of artists - your father Sitki Kosemen is a well-known photographer. Besides this, you have also worked in different areas such as documentary film, digital illustration and advertising. You seem to be in touch with all aspects of art. Does this have negative or positive consequences? Can an artist produce works in every medium??
7 Senem Çağla Bilgin Your Turn Will Come, x 100 cm!.".#. Despite the artistic tradition in my family, I grew up with an understanding of arts that was markedly different from that of the stereotypical bohemian artist. We did not see art as a gateway to hedonism, or an isolated wonder-land where one could retreat to escape life s responsibilities. In my view, art can be likened to a soundtrack track that underscores one s life. You have to take in your feelings, memories and experiences, and produce things regardless of your mood or occupation at the time. I feel the need to paint, whether I am happy, busy, sad, depressed, whether I am working on something else, travelling, moving houses, etc I feel tired and irritable on the days I cannot paint. When I do, on the other hand, it feels like meditation. I get the time to reflect on my past, I can feel my thoughts and character evolving, fitting into place I wish I could really be in touch with all forms of artistic expression, but I still have so much to learn! There are some areas, such as music and dance, for example, where I ll never be proficient. I think that an artist can have opinions on many fields, try to work in a few, but can only get to master one. As a young artist, I think my finest areas will be in painting and printmaking. : It can be said that your works also have a scientific statement, with the profusion of zoological, historical and mystical references that they contain. At which point do art and science feed off from one another?!.".#. I am a curious guy - if I can be said to have one difference from other Turkish artists, I think it is that I don t draw a line between art and science. I have noticed an obsession with fashionable conceptualism and an unstated anti-science sentiment in Turkish artists and intellectuals. I think it stems from not having many interesting things to say. Some are just in it for the show. The situation is not too difference in the rest of the world - French Physicist Alain Sokal has authored a brilliant book, Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science, about this phenomenon. At the end of the day, good art, mysticism and sound science all seek answer to the same questions. What makes us human? What is really going on in the world, Can there be other realities beneath what we are seeing? These are the same questions I am trying to address with my artwork. : Can you walk us through one of your works in this exhibit? How did you make it, what was the story behind it?!.".#. Speaker to the Dead. In it, we see a dark, insectile being in conversation with a tombstone-shaped entity. Both have the same eyes.the ideas behind this picture developed in two steps. First, someone I used to see in Ankara once told me that she Saw the faces of dead people when she was alone. It was a strange and tender moment - I can never forget it. Her words came back to me last year, during the funeral of a very close family friend. Seeing dead people seems like a scary so many things - regrets, unsaid, unshared. To cope, we sometimes develop virtual facsimiles of the departed, we secretly talk with them, and share our lives in the privacy of our minds. I wished there could be an entity that could do this in real life - a translator-being that acted as an intermediary between the two worlds. Besides your artwork, you have also been the author, illustrator and Tombstone Photographs of the Dönmes. Can you tell us a little more about them?!.".#. The other is focused on such books. Every three or four months, I switch gears from one mode to the other, ensuing a steady stream of output. My first serious book was All Yesterdays, which I wrote, and co-illustrated with palaeontologist friends Darren Naish and John Conway. All Yesterdays was an illustrated book animals instead of movie monsters. We published it under Irregular Books, our Hasan and the Tombstone Photographs of the Dönmes, was a project of visual history, based on the nearly-century-old faded photographs and mystical symbol- Empire, whose religion fused teachings of Sufi Islam and Kabbalistic Judaism. purchased by the libraries of Harvard University, Stanford University and a number of other institutions. Thanks to it, I travelled to Sydney this February to talk at a conference organised by the AAJS - the Australian Association of Jewish Studies. I try to make all of my books unique and interesting, and I work hard to make my research to reveal unique facts that have never been noted before. Can you tell us more about the content and the creative process behind Beyaz gallery between and ?!.".#. As I told before, this exhibit is based on the monster-seeing-game I my visual vocabulary of sinous backgrounds, human-animal hybrid forms and glimpses from my subconscious imagination to hint at feelings and memories about this city. I m certain that among them, visitors will be able to find feelings that relate to their own lives too. Do you have any projects and plans for the future? Zu Zu, x 100 cm!.".#. The adventure goes on, but I don t want to jinx them. My biggest priority now is to have an art exhibit overseas.
8 MTA MTA, x 107 cm t f
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